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ARTIST STATEMENTS |
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ABOUT THE "WAITING CHAMBER" |
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For as long as I can remember, the image of a circle
would appear to me. Negative space on the inside surrounded
by endless, external negative space. The line separating
them was thin and sketchy, as if drawn by hand. Sometimes
the irregular, imperfect oval took on the shape of a face;
at other times it described the contours of an open mouth.
Sometimes it became an outline separating the individual
from the outside air.
I create sculptures that rely
on our understanding of our bodies. Do we see ourselves as
substantial, massive, our torsos solid and dense? Or do we
see ourselves as vessels, a body of internal cavities, a
waiting chamber? Are we made of surfaces, separated from
the outside by the thinness of our skins.
My sculptures
like organs of the body, separate, yet part of a whole.
They suggest a point in a life cycle - either growing and
expanding, or sagging and depleted. We feel empathy for these
objects, compounded by the sensuality of the color and the
abjectness of the forms.
Cast in rubber, the sculptures seem
vulnerable to touch. They are cast as vessels, with suggestions
of intrenal cavities. Several pieces are installed on stiff steel rods
that are mounted on the walls, floors, and ceilings of a space. Held
in place by the insensibility of steel, the tender false flesh of my sculptures
is exposed; the internal becomes external..
The sculptures set up a series
of dialectics. They suggest the confluence of seemingly irreconcilable contradictions.
Qualities of pain and pleasure, vulnerability and empowerment, intimacy and distance
are expressed in equal measure. The pieces catalyze emotions from arousal to ambivalence,
creating a heightened experience that implicates the viewer.
The works on paper are constructed with a process that is both sculptural and surgical.
Sheets of translucent vellum are cut and rouged with reoil crayon to create patterns of color, shape,
and depth. Like the sculptures, these patterns suggest the forms of the body, recalling figures, faces, and open
mouths. The works on paper create the impression of seeing internal, biological forms through layers of
translucent skin, or through a glass slide. |
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ABOUT
"THE POJAGI SERIES"